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Relevant bibliographies by topics / Bhangra (Music)

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Journal articles

Academic literature on the topic 'Bhangra (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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Journal articles on the topic "Bhangra (Music)"

1

Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (2020): 202. http://dx.doi.org/10.3390/rel11040202.

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Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.

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2

Roy, Anjali Gera. "Black beats with a Punjabi twist." Popular Music 32, no. 2 (2013): 241–57. http://dx.doi.org/10.1017/s0261143013000111.

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AbstractThe bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by British Asian music producers through tracing the history of Bhangra's ‘douglarisation’, beginning in the 1990s with Apache Indian's experiments with reggae. It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space. The essay explores the possibilities of a ‘douglas poetics’ for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.

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3

Khabra, Gurdeep. "Music in the margins? Popular music heritage and British Bhangra music." International Journal of Heritage Studies 20, no. 3 (2013): 343–55. http://dx.doi.org/10.1080/13527258.2012.758652.

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4

Dudrah, Rajinder. "British Bhangra Music as Soundscapes of the Midlands." Midland History 36, no. 2 (2011): 278–91. http://dx.doi.org/10.1179/004772911x13074595849239.

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5

Banerji, Sabita. "Ghazals to Bhangra in Great Britain." Popular Music 7, no. 2 (1988): 207–13. http://dx.doi.org/10.1017/s0261143000002762.

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The cultural identity of the Indian subcontinent has survived countless onslaughts and displacements often by simply absorbing and Indianising alien elements. The many hybrids in lifestyle, language, food and religion spawned of Britain and India's long, love-hate relationship are a testament to this. And now the process is repeating itself in the new generation of South Asians born and educated in Britain. It is a unique generation, its acceptance or rejection of and by white British society will probably set the pattern for generations to come, and the musical fusion which voices their cultural duality tends towards mutual acceptance.

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6

Mooney, Nicola. "Aaja Nach Lai [Come Dance]." Ethnologies 30, no. 1 (2008): 103–24. http://dx.doi.org/10.7202/018837ar.

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Abstract This article discusses the performance of Punjabi folk dances bhangra and giddha in some Canadian contexts. After introducing a notion of Punjabi identity, the article provides a brief description of these dance forms, their agrarian origins and their gendered natures, as well as of the types of events at which these dances are performed among Canadian Punjabis, and specifically, Jat Sikhs. I argue that not only do these dances express and maintain Punjabi identity in diasporic contexts, but that these identities refer to a Jat “rural imaginary” that is actively constructed through dance and music in response to the displacement of urban and transnational migration. This rural imaginary is usurped by bhangra’s increasing Westernization and popularity in the non-Jat South Asian diaspora, thus raising challenges to Jat centrality, meaning, and identity.

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7

Manuel, Peter. "Chutney and Indo-Trinidadian cultural identity." Popular Music 17, no. 1 (1998): 21–43. http://dx.doi.org/10.1017/s0261143000000477.

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Since the early 1980s Indian diasporic communities have attained sufficient size, affluence, self-awareness and generational distance from South Asia to have created a set of popular music styles that are autonomous and distinctive rather than strictly derivative of Indian models. While the bhangra music of British Punjabis has attracted some scholarly and journalistic attention, chutney, a syncretic Indo-Caribbean popular music and dance idiom, is little known outside its own milieu. This article constitutes a preliminary socio-musical study of chutney.

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8

Poole, Adrian. "South Asian music education in Essex: an ethnography of bhangra." British Journal of Music Education 21, no. 1 (2004): 7–24. http://dx.doi.org/10.1017/s0265051703005552.

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The general aim of this article is to explore South Asian music and culture in an educational context. The fieldwork on which it is based mainly consists of semi-structured interviews with pupils of South Asian origin (aged 11–18) who attend a secondary school in Ilford, Essex. The learning methods of South Asian musicians are considered and a detailed investigation of the socio-cultural environment in which these learning methods are related is undertaken, focusing on the role that music plays in the formation of concepts of culture, ‘identity’ and ‘place’. The majority of the musical material is drawn from the South Asian genre of bhangra, concentrating on the improvisations and rhythms of dhol players.

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9

Gopinath, Gayatri. "“Bombay, U.K., Yuba City”: Bhangra Music and the Engendering of Diaspora." Diaspora: A Journal of Transnational Studies 4, no. 3 (1995): 303–21. http://dx.doi.org/10.3138/diaspora.4.3.303.

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10

Gopinath, Gayatri. ""Bombay, U.K., Yuba City": Bhangra Music and the Engendering of Diaspora." Diaspora: A Journal of Transnational Studies 4, no. 3 (1995): 303–21. http://dx.doi.org/10.1353/dsp.1995.0011.

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